Motion Picture News (Nov-Dec 1922)

December z o , 1922 3387 “ That Woman ” American Releasing — Six Reels (Reviewed by Laurence Reid ) THE only way to make a moth-esten story presentable on the screen is to keep the action as progressive as possible, give it a cast which is entirely appropriate, and dress it with a good production. Harry O. Hoyt, always a sincere and hard working director, who is ever striving to appeal to one’s intelligence, is burdened with a frayed formula in this theme of the gilded youth who invites family ostracism through his love for a chorus girl — or rather the leading principal of a “ words and music ” show. There is no chance to make anything from such a plot when the story follows its orthodox groove even to the compromising situation engineered by the irate father of the boy. However, the director takes much of its obviousness away by his emphasis upon the central situation, that of the conflict which is inspired when the hero marries beneath his station in life. If you can anticipate every scene, you at least have the satisfaction that each has been executed for their full value. Which is to say that the heart interest note is dominant. One catches a close-up of life back-stage — of an opening night — of the tributes paid the star by the impressionable scions in a stage box. The production is much better than the story — oh, much better. The atmosphere of easy living among the idle rich is well suggested. One sees a bit of club life and a slice of color aboard a yacht where the infatuated swain proposes marriage to the star of “ The Pink Moon.” With these scenes planted it is easy to guess that the father will become enraged over the affair. The bride is known as “ that woman.” Hence the title. When the actress refuses to accept the familiar bribe to release herself from the entanglement the irate parent resorts to the equally familiar compromise to show the bride up as unfaithful. But this scheme is frustrated. Eventually the couple are successful in the conflict. And all ends happily. Catherine Calvert plays the heroine with proper understanding of the demands of the role. The picture is burdened with a bad set of titles, most of which are hackneyed and ungrammatical. New captions would lift its value. The Cast Adora Winstanley Catherine Calvert William Arnold Kelvin Joseph Bruelle William Kelvin William Black Somerton Randall George Pauncefort Morris Eltrnan William Ricciardi ^Hilary Weston jack Newton Mishu Norbert Wicki By Sabin Wood. Senario by Wallace Clifton. Directed by Harry O. Hoyt. Produced by F. C. Mims. Released by American Releasing. The Story — Tells of a millionaire’s son who rnarries an actress. Which precipitates a conflict with his father, who would disinherit him. The parent endeavors to bribe the actress and then compromise her. He fails and the young people are happy in their love. Classification — Based upon old formula of Tich man’s son marrying beneath his station. The wealthy scion and the actress. Production Highlights — The good production. The scenes in the club, back-stage, in the theatre and aboard the yacht. The conflict between father and son. Miss Calvert’s gowns. Exploitation Angles — Here is another chance to capitalize upon the title with a teaser campaign— exploited through women’s specialty shops. Play up the stage romance — which is always popular. Put over dancing numbers for your prologue. Build your copy around life back-stage. Drawing P ovaer — Best suited for audiences in small cities and towns. Might go well in neighborhoods. “ Hearts Aflame ” Louis B. Mayer-Metro — Seven Reels (Reviewed by L. C. Moen) THERE is a powerful theme and a vigorous appeal for the conservation of America’s timber resources running through this latest Reginald Barker production which gives it unusual character. Don’t think this is a propaganda picture, however, or a preachy, moralizing tale. Far from it. But the theme of forest conservation is so much an integral part of the story that it is put over powerfully, through the appeal of one of the leading characters, The cast is an all-star one, and presents an unusually large number of familiar names, but the real honors of the picture are stolen by Frank Keenan, and only slightly less by Anna Q. Nilsson. These two can “troupe,” and it is a pleasure to watch their work, which vitalizes the screen into something very human and real. Frank Keenan’s portrayal of Luke Taylor, a retired lumberman who is miserable because there is no more white pine for him to cut, and who chafes under his inactivity, is a genuine triumph. He is the crabbed, grouchy, loveable old lumberman to the life, and his scene alone in the forest with the pines is one of the tensest bits of emotional acting, restrained and yet forceful, that the screen has had. Miss Nilsson, too, deserves commendation for her sincere acting as the daughter of a man who devoted his life to regrowing timber. It is an appealing portrayal. Among the other players, Russell Simpson and Martha Mattox contribute excellent comedy relief. Space will not permit of enumerating the other members of the cast who are entitled to mention. Perhaps we should have mentioned first the great forest fire scenes, since they are probably the outstanding feature of the picture, but portrayals such as Keenan’s are rarer than great spectacles. There is a powerful “kick,” however, in the forest fire sequence, and the magnificent sweep of the flames, brought out by special color effects, is tremendous. Luke Taylor... Helen Foraker. John Taylor... Bobby Kildare Black Joe Philip Rowe... Jim Harris Aunty May. . . . Charley Stump Ginger Thad Parker. . Milt Goddard.. Lucius Kildare. Sheriff Jennie Parker. . The Cast Frank Keenan Anna Q. Nilsson Craig Ward Richard Headrick Russell Simpson Richard Tucker Stanton Heck Martha Mattox Walt Whitman Joan Standing Ralph Cloninger Lee Shumway John Dill Gordon Magee Irene Hunt Adapted by J. G. Hawks and L. G. Rigby from the novel, “ Timber,” by Harold Titus. Directed by Reginald Barker. Photographed by Percy Hilburn. Produced by Louis B. Mayer. The Story — Millionaire lumberman, retired, presents his son with half million feet of pine logs stranded in Michigan, when son demands a “ flying start.” Son, who is a waster, goes to Michigan. He meets Helen Foraker, whose father has regrown 10,000 acres of pine, and whose work she carries on. They join forces and the logs are gotten to the mill. His father attempts to buy the 10,000 acres of pine but Helen refuses. They attempt to force her to sell. The tract is set afire and in the fight to save it, father, son and the girl come to an understanding. Classification — A thrilling melodrama with splendid human interest and romance ; many comedy touches. Production Highlights — Performances by Keenan and Miss Nilsson. The log drive. The forest fire. The smooth direction. Exploitation Angles — Feature the log drive and the forest fire, as these are your two big angles. Essay contests on forest conservation might be obtained in the schools. Keenan’s return to the screen. Drawing Power — suitable anywhere. “ Making a Man ” Paramount — Five Reels ( Reviewed by Laurence Reid) HERE we have a character study put over with enough surefire incident to make it fairly acceptable even though its development shows several gaps which insult the intelligence. Of course the title gives it away. We all know that by the time the fifth reel is concluded the hard-shelled millionaire will learn something of human nature and act accordingly. The only difference from the orthodox treatment is that the girl does not act as the inspiration in making him over. Rather is she a subordinate figure who flits in and out of a few scenes for the sake of providing the romance. The early locale is a small California city which is owned by the above mentioned Croesus. He is represented as a snob of the first order — a man who patronizes everyone with whom he comes in contact. He is particularly patronizing with the poor underlings who owe him money and in his courtship of the girl he is ever referring to his income tax, etc. A fight is started in his office — which smacks of comedy hokum. And this is the turning point of the story, for the youth goes to New York to keep under cover for a while. He engages a suite at a swell hotel, and lives high. But when he runs out of funds the gaps in the story appear. He hasn’t enough money to send a telegram, but it seems as if he could have sent the message collect. So the hotel attaches his traveling bag and clothes. Now a millionaire who is depicted as the sugar beet king could certainly offer some kind of identification. He ought to be able to raise money from some bank. But this would be spoiling the human interest which is introduced a la O. Henry. The Californian takes to a park bench and gets chummy with a park bum. They eat in hash houses and sleep on the benches. The hero pawns his cuff-buttons for “sinkers” and coffee — his only assets, mind you— yet he is able to appear cleanly shaven. The end is in sight when the girl and her father arrive at the hotel. It is a rather funny scene when they discover him a waiter in a hash house. The identification is easy — the hotel people apologize— the youth learns the human values, and there you are. Simple and obvious, but fairly well played by Jack Holt and Frank Nelson. The Cast Horace Winsby. . Jim Owens Patricia Owens... Henry Cattermole Shorty Bailey Jack Holt • J. P. Lockney . . . Eva Novak Bert Woodruff .Frank Nelson Robert Dudley By Peter B. Kyne. Scenario by Albert Shelby Le Vino. Directed by Joseph Henabery. Produced by Famous Players. The Story — California millionaire is a snob and patronizes everyone, including girl with whom he falls in love. Is compelled to flee community and comes to New York, where he encounters a series of misfortunes. His plight makes him over so that he appreciates real human values. Wins the girl eventually. Classification — Character study carrying romance, local color, humor and heart interest. Familiar incident and plot. Production Highlights — Adequate acting by Jack Holt and Frank Nelson. The good production. The O. Henry touch in New York incident. The scenes in the hotel and in the hash-house. Exploitation Angles — Here’s a chance to link up with tailors and clothing stores as well as any merchant catering to men’s wear. Play up theme, using a teaser campaign. Holt has a following. Use his name. Drawing Power— Will be liked by the majority of patrons in most any house. Story is suitable for most any locality.